ISBN 9781619119451.

This book is an attempt to capture the highlights of twenty-eight years of composing. Each of these 32 compositions is an expression, and as such -- an exposure, of a genuine part of myself which I present within the framework of jazz; my beloved art form. When I listen to this music I hear shades of my early classical and rock influences. It also brings to my mind my birth place, a small neighborhood outside of Haifa, Israel. I really hope that you will listen to these pieces come alive on my CDs, All The Way To Sendai.

ISBN 9781609747855.

This approach really works. It holds my student's interest. These are typical comments on the effectiveness of William Bay's Guitar Class Method. As no other instrument lends itself to so many moods and styles of music (blues, folk, rock, country, classical, flamenco, jazz, etc.), playing the guitar as a popular mode of expression and the instrument itself have become an integral part of American life. The Guitar Class Method was written with the hope it would expand the range of people of all ages who would be exposed to the guitar through a meaningful, authoritative method that is easy to follow. Online audio available for download.Volume 1 of this method for individual or group study offers an overview of the various styles of guitars and playing techniques with advice on purchasing and caring for the instrument, selecting guitar strings, and playing positions. Includes special sections devoted specifically to chord strumming, blues structure and style, fingerstyle technique, note reading, and music theory. The individual sections can be used simultaneously in any order to take the class in any direction it wants. Written in standard notation and tablature with chords presented in both diagram and photo format. Lyrics are included for many songs and a few melodies are presented as duet arrangements. Access to audio download available online.

ISBN 9781610657631. The Spirituals Their Story, Their Song Guitar Solos and Songbook is both a collection of guitar solos and a songbook devoted to African-American spirituals. The music is placed in historical context to help the reader better appreciate and interpret this amazing musical legacy. The book provides solo guitar arrangements in standard notation and tablature plus a vocal stave with complete lyrics and chord diagrams for 60 songs of faith, freedom, hope and the human spirit. A companion online audio includes the author's rendition of all of the guitar solos in the book. The book provides an in-depth analysis of the various meanings and messages of the spirituals, and traces the musical forms that grew out of them, namely blues, jazz, gospel, country, calypso, rhythm and blues, soul, and rock. This book is for all who play the guitar including: students, music teachers, parents, performing guitarists, vocalists and anyone with an interest in folk, gospel and sacred music. Includes access to online audio.

ISBN 9781619116955. 8.5 X 11 inches.

In his quest to compile an anthology of the best pieces by vihuela composers, David Grimes encountered the rich complexity of the music of Luys Milan. He also noticed many discrepancies in fingering and in the notes themselves in various existing transcribed editions. Following a period of exhaustive research the author prepared this authoritative guitar edition of the fifty fantasias in Milan's seminal 1536 book, El Maestro. The resulting edition provides a more accurate sense of the virtuosity of this music. These extraordinary pieces are presented here in standard notation only with extensive historical and performance notes. Of this collection the author writes, It is my sincere hope that this new edition will help bring this glorious repertoire to the attention of more of today's many outstanding performers, and that Milan's fantasias will more often take their deserved place on recital programs, alongside the masterworks of John Dowland and Francesco da Milano.

There is plenty of music sheet for classical guitar of various styles, directions and levels of difficulty. There is also enough methodical literature for all tastes. However, every year there are appearing new schools, methodical collections and exercises. That?s why the art of playing classical guitar is not standing still.

During my pedagogical activity rather often I faced the problem of searching or creating small exercises for a particular technique and solution of a particular problem. What didn?t suit me in the existing studies? First of all, the monotony of technical material (the accent only on the left hand technique of a performer, while the concentration of sound control is mostly in the right hand; a limited quantity of technical methods: arpeggios, chords, passagework technique). Secondly, it?s an amount of musical material. As a rule, the main efforts were aimed to memorize the text, which distracted from the very purpose of etudes, the work on a certain type of technical difficulties.
That is how the collection «Unusual Studies» appeared.
What is their «singularity»?
The collection is conditionally divided into several sections in the order of increasing the complexity of material, and it concludes with three «Concert Studies». They are distinguished by a more developed emotional atmosphere and rather high level of complexity and size. These studies require a certain level of preparation and can diversify a performer?s concert program. Nevertheless, they are only an addition to the basic material, which is focused primarily on the elementary and intermediate levels of training.
When it comes to the ?singularity?, focus is shifted to the right hand, with the detailed fingering of the right hand. The fingers «p» and «a» are introduced more actively, paying attention to the alignment of their sound, attack power. It is necessary to strive for full equality of all fingers of the right hand, using fingers «p» and «a» not only when playing bass and melody, but also in arpeggio, passaggio technique (in the middle of an arpeggio or passaggio).
- learning to use touches in a high contrast while playing: staccato/legato. This, in my opinion, is extremely necessary to already assimilate at the initial stage of training.
- active use of the alternation in the musical material of open and closed strings. Control over the strength of the sound of open strings, timbre ratio.
- using the high positions of the guitar?s fingerboard with open strings without excessive physical effort .
- rather small size of studies. This allows to concentrate directly on the technical difficulties, rather than on memorizing.

I hope that this collection will help you to achieve the desired result faster and more effectively, will bring not only methodical benefit, but also aesthetic pleasure.